Critical Approaches to Literature

1. Critical Approaches to Literature An Introduction, as adapted from the Bedford Reader

2. FORMALIST CRITICISM

3. Formalist Criticism • Formalist critics focus on the formal elements of a work—its language, structure and tone. • A formalist reads literature as an independent work of art rather than as a reflection of the author’s state of mind or as a representation of a moment in history • Formalists offer intense examinations of the relationship between form and meaning within a work, emphasizing the subtle complexity of how a work is arranged. • History, politics, etc. are considered extrinsic matters, which are relatively less important than what goes on within the autonomous text • The Bedford Reader

4. Formalist Criticism in SOAH • (As we’ve now seen a few times)… A first reading probably results in surprise at the story’s ending • There is a powerful incongruity between what is expected to happen and what actually happens. • A formalist critic would raise the question of the ironic ending: Is this merely a trick ending, or is it a carefully wrought culmination of other elements in the story so that in addition to creating surprise the ending snaps the story shut on an interesting and challenging theme? • The Bedford Reader

5. Formalist Criticism in SOAH • A formalist critic might also: • Look back over the story for signs of the ending in the imagery • This could involve an examination of how Josephine attempts to tell Mrs. Mallard the news, and Josephine’s misinterpretation of Mrs. Mallard’s reaction

6. So far… • Our analysis of “A&P” resembled mostly a formalist criticism • We examined chiefly the significance of the elements of the story itself and mostly viewed the text as autonomous • (Note that I did have you read lots of background on the authors of these works)

7. Gender Criticism

8. GENDER/FEMINIST CRITICISM • Gender critics explore how ideas about men and women—what is masculine and feminine– are determined by cultural institutions and conditioning. • This type of criticism tends to regard sexuality as more complex than merely masculine or feminine, heterosexual or homosexual

9. FEMINIST CRITICISM • Specifically, feminist critics seek to correct or supplement what they regard as a predominantly male critical prespective with a feminist consciousness. • The way men and women write about each other is an interest in whether women use language differently from the way men do. • Feminist critics bring sociological and sociopolitical knowledge into their study

10. FEMINIST CRITICISM OF SOAH • A feminist approach to SOAH might explore the psychological stress created by the expectations that marriage imposes on Mrs. Mallard, expectations that literally and figuratively break her heart • Brently is kind and loving; therefore her issue is not being married to him, but being married at all • The “right to impose a private will upon a fellow-creature” is seen, from the feminist perspective, as primarily imposed on women by men

11. FEMINIST CRITICISM OF SOAH • Even the way that she is introduced in the story suggests her definition through her husband • Finally, the doctors are only able to diagnose her case in male terms: • She has a “weak heart”

12. READER-RESPONSE CRITICISM

13. READER-RESPONSE • Reader-response, as you might guess, focuses more on the reader than the work itself. • The aim is to describe how the reader experiences the text and how his/her expectations of the story are met or not met. • The work evolves as the reader processes all of the story’s elements • This type of criticism does not justify bizarre or mistaken readings, but seeks to understand how the text and reader together create meaning in the work

14. Back to our Catalyst… • Reader response criticism allows room for us to understand whether our interpretation of the text is influenced only by the details Chopin includes in the story • OR… • By our own personal bias and views that influence our reading

15. READER-RESPONSE IN SOAH • Chopin never comes out and says that Mrs. Mallard’s marriage is repressive • Instead, readers come to this conclusion at the same time that this awareness develops in Mrs. Mallard • However, this surprise can impact readers differently: • Someone who has recently lost a spouse might find her thoughts selfish and “monstrous” • Someone might also see the death as her only escape • A more modern reader might see the need for the death of the marriage, not the death of a spouse

16. HISTORICAL CRITICISM • Using social, political, cultural and relevant “current” events in the author’s time to determine text meaning • FOREWORD TO FRANKENSTEIN: • Advances in science in Shelley’s time, etc. • Author’s personal life and relationships • Mary Wollstonecraft (Feminist) • Personal hardships within her family • Marriage (and her husband’s early death)

17. PSYCHOLOGICAL CRITICISM • Oedipus complex (son develops unconscious affection for his mother; therefore is fated to destroy his father) • Electra complex (same concept for daughters) • ONLY ONE ASEPCT of this type of criticism • Character motivations and mindsets • How these are expressed in character actions and behaviors • Taking a real psychological diagnosis, disorder, mental state, etc and see if it upholds for a character AND ITS IMPLICATIONS